These are the artworks that are currently displayed in exhibition as


Artworks 1 to 5 are as follows:

Apologies for the weird layout of the pics, the lack of scale of the paintings and lack of text in places.  The very largest painting is GALAXIES GALORE#2, while STARLET is one of the smaller works and the COSMIC diamond-shaped trio are the smallest, with SUPERNOVA being the tiniest.  The rest are all fairly large works.

Apologies for the multiple Updates – I hope the layout comes through properly now – at least for Desktops.  What it does on mobiles is going to be pot-luck!  I had a lot of trouble loading and arranging these pics – they refused to be moved, deleted themselves or other pics, and finally refused to be named.  This program needs a lot of work to make it more user-friendly.

See my blog Shaped Canvases Open Images: SPACE IN SHAPES to see the theoretical concept underlying these Astonomical works.

Jud House   30/07/2017

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This is a way of communicating through a visual image, as is drawing.  The latter includes pastel, charcoal, water-colour, and pencils, and can be calligraphic, a quick or detailed sketch, or a drawing in the sand with a stick.

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Cave paintings – Lascaux

Painting can be merely an example of visualising theories and techniques, as Seurat did with the theories of Optical Colour Mixing, or can be very personal and emotional.  It can also be a form of recording history – from the earliest efforts of the cavemen, who painted pictures on the walls of their caves of the animals of the region, for either ritualistic, magical or religious reasons, to paintings of the horrors of the Vietnam War.

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Ancient Mayan Fresco

Paintings were created to depict the events and the social conditions of the Mesapotamians, the Egyptians, Greeks, Romans, Incan and Mayan people – often as wall murals or carved edifices.   Then paintings became portable with the creation of icons during the Dark ages, for religious purposes of course.  In the Middle Ages paintings were still portable, e.g. psalters, as well as being painted on walls as frescos.  They were also on wooden or canvas panels – or on paper as prints became available – which could be hung in the homes, instead of only in palaces or buildings of importance.

Paintings reflected the tribe mentality in Ancient times with the kings communicating and being interchangeable with the Gods.  In the Dark Ages the nature worship developed into Christian ideas, with saints and martyrs, and people living close to death all their lives.  This permeated their art which was oppressive.

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Raphael – School of Athens

The Renaissance recalled the idealism of the Greeks and Romans, and saw the development of scientific discoveries and mathematical formulas which were used in art as linear perspective.  They were also able to create a sense of real depth through the use of atmospheric perspective – their paintings created as a ‘window on the world’, depicting implied textures and volume, and humanism to the figures.  The 15th and 16th centuries were of ‘man the thinking man’ – humanism.  the 17th century shows the age of plenty, materialism, with still life paintings.

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Salisbury Cathedral from the Meadows – Constable

The 18th Century showed idealism and romanticism, with the use of rococo style of over-embellishment, portraying only important people and places.  The 19th century was the industrial revolution and depicted the squalor of this time, with human life held cheap.  Social Realist paintings showed this.

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         Picasso – Brick Factory as Tortosa; & Seated Woman (Simultaneity)

The 20th century saw the development of Cubism and Surrealism – breaking the ‘window on the world’, and expressing a different reality – that of art as technological changes affected it.  The ambiguity of our life is reflected through our art, and the way we use such diversity of media to portray it.  Picasso pushed Cubism further to create Simultaneity – showing all sides of the image at the same time.  The Surrealists based their work on psychi – art has become very literary, and verbal.

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                    Mondrian;                                                       Pollock

The 21st century has seen continual development, and stretching of already flexible boundaries within and between each Postmodern and Contemporary artistic genre, portraying the Astronomical reality, scientific advancements, and the turmoil between global cultures that exemplify our current world.  There are no limits on the multi-use of Media in the creation of our art.

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Ian McKellan;      Alan Cummings  – by Christian Hook


PIGMENT is the colouring agent, originally in powdered form from nature – stone chalk, earth, plants, bark – late 19th century psynthetic pigments were chemically produced in tubes, giving practical and portable usage.  Impressionists were able to take them into the fields (au Plein Air) to paint.

BINDER in the tubes of paint is already combined – for oils it is linseed oil; for acrylics it is acrylic polymer; for tempura it is egg yolk; for encaustic it is beeswax; and for fresco work it is lime in the plaster.  A Mural is ON the wall; a Fresco is PART OF the wall.

Dispensing Agent:  thins and waters the medium to make it malleable.  For acrylic and tempura it is water, and for oil it is turps, or citrus fluid.

Sizing:   is used to make the surface non-porous – often a glue-form, e.g. Bondcrete.  GESSO is glue mixed with chalk and plaster.  AQUAHERE dries clear and can be built up to create an Impasto affect.  There are now many products available if your canvases are not pre-Sized.


WASH is a thin transparent coating of pigment – using water or turps depending on whether acrylic, watercolour or oil.

GLAZE is the same, but has the oil thinned with linseed oil, or the acrylic mixed with medium.

IMPASTO is thickly applied paint, often applied with a palette knife – acrylics are mixed with an impasto medium, while oils are used neat.

MATT is a dull finish to the painting, naturally occurring in tempura, and if too much turps is used in oils.

GOUACHE is an opaque water colour paint, also poster paint.

CARTOON is a fullsize detailed drawing of the finished work, using volume, which is transferred to the canvas – it was used to solve any value problems.

UNDERPAINTING was done in sepia monochrome, putting in all the details and values – it was then painted over with pure pigments.  It went out with the Impressionists who were able to paint in the field.

LINEAR refers to a painting that is composed of defined lines, either painted on as contours or where edges clearly abut, and composed of defined shapes.

PAINTERLY is work with paint alone, no drawing, with colour suggesting volume and details, the use of texture of the paint, blending and giving no clear definitions as edges weren’t important.

FORMAL painting follows the rules and techniques, producing correct images rather than giving content.  theoretical.

EXPRESSIVE painting is straight from the heart, drawing a response from the viewer, showing emotion, and full of content.

Jud House   4/09/2016

. . . . .

Apologies: Moving House!!

I would just like you to know that as soon as we have moved into the now re-painted house, and I have the computer up and running, and have unpacked all the boxes, and collected or delivered all the artworks to the last few exhibitions, I will settle down and write some Art blogs.  I will also try to load on some more pics of my artwork – if I can make my new Galaxy download them onto the computer.

So hang in there and please check occasionally.  😀


New work added.


Solar System; Milky Way
Solar System; Milky Way

Pinnacles Haze
Pinnacles haze


Galaxies Galore 1

Galaxies Galore – SOLD!!

Nebulae 15

Nebulae – SOLD!


Bungle Bungles Sunset


Cloud Continents Over The Bight

Across the PlainAcross the Plain

Divided FinalDivided

Jellyfish Jaunt finalJellyfish Jaunt

?????????????River Reverie


Glacier’s End

Final Unmasked Unmasked

Rivendell Falls
NorWest Falls – SOLD!

Manta Ray Flurry Final Manta Ray Flurry       

Whale SpaWhale Spa

Seals at Play Seals at Play

Sharks finalSharks – SOLD!

(C) Jud House  18/07/2016

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Shaped Canvases = Open Images.

An Acrylic work on a round canvas – perfect for Cosmic artwork as there are no boundaries to the image – it is entirely open.  For the uninitiated – an Open Image is one where there are no visual or physical boundaries to block or frame the image, which can enter from any direction and to the viewer appear to continue beyond the confines of the canvas.  These can and are mostly created on rectangular and square canvases – often with the some image elements being cut off by the canvas edge.

“But your Asteroid Belt cuts off the bottom of the Image”, I hear you say.  Only to establish the positioning of the viewer within our Solar System – a comfortable place for them to see it all.  I carried the Milky Way beneath and out beyond the canvas’s top and bottom edges.  The Gas Giant planets are beyond the far side of the Asteroid Belt, stretching across space to the Ort Cloud at the outer rim of our Solar System.  So the image is still Open.

Of course the artist can add blocks or framing of their own to confine their image to the canvas plane.  Devices such as tall trees bordering the vertical edges of a rectangular or square canvas can be used contain the main subject matter neatly ‘in frame’.  These work very well, and are generally the accepted norm especially for figurative and realistic images.  Expressionist and Abstract works are freer in another way, yet are still created on rectangular and square canvases or boards – surprisingly conventional when you consider the subject matter.

                        SALTPAN REFLECTIONS                               NEBULAE

I have always turned square canvases on the diamond – from the first one, SALTPAN REFLECTIONS, to one of my last, NEBULAE.  Almost always – a few rare exceptions when I realised that the image I was creating would actually work better on the square – but that was because I placed the image on with one result in mind only to ‘see’ something different in the work that I preferred to pursue, but which forced me to turn the canvas back to square to achieve it. (Excuse background of Nebulae – some paintings don’t get photographed on the wall and they are hard to crop on the diamond.  That is NO reason for not painting them that way though.)

                        SEALS AT PLAY                                         SHARKS  

Then I discovered someone who would make me shaped canvases – hexagonal, octagonal, pentagonal!  (Sadly he is no longer doing so.)  These led to an immediate ‘Port Hole Series’ of Underwater paintings –  Humpback Whales, Dolphins, Sealions, Rays, and Sharks which were like looking into different areas of the ocean through Port Holes of a submarine. Round and oval canvases came later, providing more opportunities for open images for the viewer to follow off the canvas into their imagination.

                          PINNACLES HAZE                                    ADRIFT IN SPACE

Be brave.  Don’t let your canvas/board shapes confine your artwork to the conventional.  Turn the canvas, cut the board, allow your imaginations to expand beyond your painting surface, carrying your created image with and beyond it also.  You may be surprised by the results both tangible and intangible.

Jud House  12/07/2016

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